Mary Braddon - Aurora Floyd. Volume 1

It was not the fashion in those days to make "sensation" dramas of Shakespeare's plays. There was no 'Hamlet' with the celebrated water-scene, and the Danish prince taking a "header" to save poor weak-witted Ophelia. In the little Lancashire theatre it would have been thought a terrible sin against all canons of dramatic art, had Othello or his Ancient attempted to sit down during any part of the solemn performance. The hope of Denmark was no long-robed Norseman with flowing flaxen hair, but an individual who wore a short rusty black, cotton-velvet garment, shaped like a child's frock, and trimmed with bugles, which dropped off and were trodden upon at intervals throughout the performance. The simple actors held, that tragedy, to be tragedy, must be utterly unlike anything that had ever happened beneath the sun. And Eliza Prodder patiently trod the old and beaten track, far too good-natured, light-hearted, and easy-going a creature to attempt any foolish interference with the crookedness of the times, which she was not born to set right.

What can I say, then, about her performance of the impassioned Italian girl? She wore white satin and spangles, the spangles sewn upon the dirty hem of her dress, in the firm belief, common to all provincial actresses, that spangles are an antidote to dirt. She was laughing and talking in the white-washed little green-room the very minute before she ran on to the stage to wail for her murdered kinsman and her banished lover. They tell us that Macready began to be Richelieu at three o'clock in the afternoon, and that it was dangerous to approach or to speak to him between that hour and the close of the performance. So dangerous, indeed, that surely none but the daring and misguided gentleman who once met the great tragedian in a dark passage, and gave him "Good morrow, 'Mac,'" would have had the temerity to attempt it. But Miss Percival did not take her profession very deeply to heart; the Lancashire salaries barely paid for the physical wear and tear of early rehearsals and long performances; how then, for that mental exhaustion of the true artist who lives in the character he represents?

The easy-going comedians with whom Eliza acted made friendly remarks to each other on their private affairs in the intervals of the most vengeful discourse; speculated upon the amount of money in the house in audible undertones during the pauses of the scene; and when Hamlet wanted Horatio down at the footlights to ask him if he "marked that," it was likely enough that the prince's confidant was up the stage telling Polonius of the shameful way in which his landlady stole the tea and sugar.

It was not, therefore, Miss Percival's acting that fascinated the banker. Archibald Floyd knew that she was as bad an actress as ever played the leading tragedy and comedy for five-and-twenty shillings a week. He had seen Miss O'Neil in that very character, and it moved him to a pitying smile as the factory-hands applauded poor Eliza's poison scene. But for all this he fell in love with her. It was a repetition of the old story. It was Arthur Pendennis at the little Chatteris theatre bewitched and bewildered by Miss Fotheringay all over again. Only that instead of a fickle, impressionable boy, it was a sober, steady-going business-man of seven-and-forty, who had never felt one thrill of emotion in looking on a woman's face until that night, – until that night, – and from that night the world only held for him one being, and life only had one object. He went the next evening, and the next; and then contrived to scrape acquaintance with some of the actors at a tavern next the theatre. They sponged upon him cruelly, these seedy comedians, and allowed him to pay for unlimited glasses of brandy-and-water, and flattered and cajoled him, and plucked out the heart of his mystery; and then went back to Eliza Percival, and told her that she had dropped into a good thing, for that an old chap with no end of money had fallen over head and ears in love with her, and that if she played her cards well, he would marry her to-morrow. They pointed him out to her through a hole in the green curtain, sitting almost alone in the shabby boxes, waiting for the play to begin, and for her black eyes to shine upon him once more.

Eliza laughed at her conquest; it was only one amongst many such, which had all ended alike, – leading to nothing better than the purchase of a box on her benefit night, or a bouquet left for her at the stage-door. She did not know the power of first love upon a man of seven-and-forty. Before the week was out, Archibald Floyd had made her a solemn offer of marriage.

He had heard a great deal about her from her fellow-performers, and had heard nothing but good. Temptations resisted; insidious proffers of jewels and gewgaws indignantly declined; graceful acts of gentle womanly charity done in secret; independence preserved through all poverty and trial; – they told him a hundred stories of her goodness, that brought the blood to his face with proud and generous emotion. And she herself told him the simple history of her life: told him that she was the daughter of a merchant-captain called Prodder; that she was born at Liverpool; that she remembered little of her father, who was almost always at sea – nor of a brother, three years older than herself, who quarrelled with his father, the merchant-captain, and ran away, and was never heard of again – nor of her mother, who died when she, Eliza, was four years old. The rest was told in a few words. She was taken into the family of an aunt who kept a grocer's shop in Miss Prodder's native town. She learnt artificial flower-making, and did not take to the business. She went often to the Liverpool theatres, and thought she would like to go upon the stage. Being a daring and energetic young person, she left her aunt's house one day, walked straight to the stage-manager of one of the minor theatres, and asked him to let her appear as Lady Macbeth. The man laughed at her, but told her that, in consideration of her fine figure and black eyes, he would give her fifteen shillings a week to "walk on," as he technically called the business of the ladies who wander on to the stage, sometimes dressed as villagers, sometimes in court costume of calico trimmed with gold, and stare vaguely at whatever may be taking place in the scene. From "walking on," Eliza came to play minor parts, indignantly refused by her superiors; from these she plunged ambitiously into the tragic lead, – and thus for nine years pursued the even tenour of her way; until, close upon her nine-and-twentieth birthday, Fate threw the wealthy banker across her pathway, and in the parish church of a small town in the Potteries the black-eyed actress exchanged the name of Prodder for that of Floyd.

She had accepted the rich man partly because, moved by a sentiment of gratitude for the generous ardour of his affection, she was inclined to like him better than any one else she knew; and partly in accordance with the advice of her theatrical friends, who told her, with more candour than elegance, that she would be a jolly fool to let such a chance escape her; but at the time she gave her hand to Archibald Martin Floyd, she had no idea whatever of the magnitude of the fortune he had invited her to share. He told her that he was a banker, and her active mind immediately evoked the image of the only banker's wife she had ever known: a portly lady, who wore silk gowns, lived in a square stuccoed house with green blinds, kept a cook and housemaid, and took three box-tickets for Miss Percival's benefit.

When, therefore, the doting husband loaded his handsome bride with diamond bracelets and necklaces, and with silks and brocades that were stiff and unmanageable from their very richness, – when he carried her straight from the Potteries to the Isle of Wight, and lodged her in spacious apartments at the best hotel in Ryde, and flung his money here and there, as if he had carried the lamp of Aladdin in his coat-pocket, – Eliza remonstrated with her new master, fearing that his love had driven him mad, and that this alarming extravagance was the first outburst of insanity.